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ALJA

Sense of place.

Freedom within the rules.

Structure.

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​16/11/2024

Reflect & notes

 

Study of 3 gestures.

I see half/cut section of the whole body.
I see body hair, bones, nipples and genitals, face.
I see wrinkles and lines.
I see a naked body
with a jacket (a coloured jacket) and a coloured face. I see a hand/arm parallel to the floor.
I see a tilted hip and weight on the left leg.
I see tension in fingers and forearms.
I see a straight neck and a head falling into the right shoulder.
I see a left profile. 

There is nothing I see fully. I see partially everything. Missing parts? Some fingers.

On Gesture (5)

I see upper part of the body.
I see coloured palms and face/skin, hinted.
I see blue big hair, very alive.
I see painted eyelids and fingernails.
I see a parallel headline to arm/palms line.
I see the chin turned at 314 degrees.
I see long fingers, long torso and long neck.
I see tension on a wrist and very close arms/palms twisted slightly to the left. I see tension in the line of the left eye, the nose and the lips.

 

Not seeing full face, full body, full palms.

On Gesture (16) 

 

 

I see upper part of the body.
I see both head and body slightly bet diagonally right. I see the head twisted horizontally into the shoulder. I see a lot of detail in face and fingers.
I see tension on the fingers.
I see a leaned back posture with a tilted ribcage.
I see a weight battle.

It looks calm, almost party like, with two points of puncture by arrows.

On Gesture (26)

​​

Drawing studies

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Thoughts​

 

Coordination with fingers and eyes/gaze is difficult to gain in the body (more than bigger shapes and postures). Precision on position and concentration to detail is very needed and challenging. It is actually more physically demanding than it seems.

There is a small frustration in restriction on movement-the movement and the positions are heavy so I felt the urge to move more and not to isolate son much. As a solution I released the task and moved a bit freely before starting over again.

I send two videos, the content is more or less similar. Some nice solutions in each. You can see sometimes I am thinking. I wrote down the solutions from the recording.

​​​

​17/11/2024

Day & Reflection

Morning group discussion notes

To embody something.
To be on something.
To have a purpose.
To have a reason for repetition.

Allow the material to do the work while repeating.

Group work:

 

Sharing.
Searching for common space.

Observing, discussing.

Strategies to work.

 

 

5 sections for today's practice

 

Looking for something in the gestures.
In looking for something, focus on how it feels. Get lost in repetition.
Allow movement in the positions.
Play with the beat and timing.

Play from inside.

 

Reflections after practice


Important: there is something unavoidable in the gesture: movement.

The state of the body starts speaking.

 

2

 

 

 

 

 

 

3

 

 

 

 

1 forget/remind

2 reaction                               

3 surrender, but hold on

18/11/2024

Day & Reflect

 

Study of 3 new gestures.​​

I see the upper part of the body portrait.
I see the face and the body looking into the same direction.
I see the chin parallel to the arms, which are in parallel to each other projecting away. There is tension on the forehead and tension on the trapezius.


There is distance between the forehead and the shoulder.
Arms, elbows and palms are close to the body.

On Gesture (3)

 

The body is quite forward, with the head turned to the left and the right elbow hanging far from it. I see the right hand vertically long.
I see the right eye almost a bit up.

I see the chin leaning, resting on the left hand, and the right hand resting on the head.

I see the weight slightly forward in the left hip.

On Gesture (2)

I see a coloured body with a short neck, a long torso and the head inside the shoulders. I see tension in between the shoulders. There are no wrists or palms, and there is a missing leg.


Is a warm image.

On Gesture (8)

Drawing studies

 

 

 

 

 

 

 

 

 

 

 

Notes after group discussion

To enter the SPACE with the gesture.

The SPACE between gestures (infinite corners).

Imprinting yourself in the SPACE, shaping yourself in the SPACE.

Atmosphere through REPETITION, , throughout physicality.

Questions:

 

What is the path from one gesture to another?

Wnat if the HANDS-FINGERS are leading?

 

Testing paths sequence

1: Gesture (5)

2: Gesture (16)

3: Gesture (26)

3,1,1

1,2,1

3,2,1

2,2,3

3,2,2

2,1,3

2,3,3

1,3,2

1,2,2

3,1,1

2,1,1

19/11/2024

Day & Reflect

 

 

Working on sequence and sets

 

Working with speed and “the beat”: loosing detail of postures and gestures, loosing paths, but gaining dynamic. Becomes dancy. The tendency is to arrive “on” the beat. Movement cannot direct you (certain control).

Where are the new gestures?

 

 

360ª body-mind exercise study​ 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Time-line of the day:​

Morning discussion with Blanca, Julija and Ema.

Testing paths between 3 gestures: (3), (2) and (8), fingers leading (tried sets of 3).

Gestures-beat work, change before beat arrives.

3 new gestures description pic.

Conversation with Julija and Ema.

3 new gestures finish.

 

Lunch.

 

(there are too many things around me)

360ª body-ming connection exercise.

Finding paths for 3 gestures impro.

Do-hold-undo exercise with new gestures.

Afternoon discussion with Blanca, Julija and Ema.

 

20/11/2024

Day & Reflect

First group discussion notes

 

 

Whatever has to come is already building inside.

Dont advertise what you are doing.

Discovering different ways to see the body.

CALM 1 SLOW

 

Question: what is the connection between the head and the fingers-hands? With head: responding in a certain way creates multi-direction, use that consciously.

RHYTHM and COORDINATION

 

HIPS-RIBCAGE TASK. Distances between shoulders-ribcage-hips; it all happens up, elongates, curves the spine.

 

OLD BUT NEW score

1,3,2

2,1,3

2,3,3

1,2,3

3,2,2

3,1,1

3,3,3

1,2,3

1,2,1

1,2,2

2,2,3

1,2,3

 

Physical questions notes

 

Solid + agile combination.

Let go to re-connect (what holds, what let go), NEGOTIATION/decision making.

On 3: arms function over ornaments..

STABILITY - force makers, we need them.

Inside connections, mechanical.

FOLLOW A PATH - body parts combination.

 

 

Second group discussion notes

Isolate a body part whilst staying connected. Awareness, and being patient.
Mind and body (to know where they are, when in motion).
Quality (texture), separate upper-lower body.
Use distance.
Bones, the structure of the body, giving weight. Muscle-form.

MEANING!

 

KEY WORDS

 

PATHS SPIRAL
HEAD CROSSED
TORSO SPINAL
HIP CENTRING
FINGERS BRANCHING

SURRENDER MELTING

REACTION QUICK
REMINDER TAKEN BACK

CONCENTRATION PUNCTURED

SUPPORT TRUSTED

HANG COMFORTABLE

FEET ROOTED
SPACE EMPTINESS

GESTURE ABSTRACTION

IMPRINTING SHAPE

 

 

WEDNESDAY WAS THE DIAMOND OF THE WEEK

 

 

 

 

23/11/2024

Day & Reflect

 

 

Two things:

1/ little bigger steps than normally.
2/ separating the ribs - distance with hips.

Sessions

- Going through the score.
Dynamic of the steps, gestures in relation to klon sound top of the fingers or head leading.

- Ribs apart.
The whole score there.

Dropping during walking and paths.

 

- Bigger steps.

Deeper position start happening, dynamic of movement changes.
Ribs are there from previous sessions ,play with positions of the legs.

- Combo.
Tips of fingers.

Head.
Deeper position.
Relation to sound.
Ribs apart/dropping and entering.

​- Allowing movement in the paths.

Playing with blocks of the SCORE

1: Gesture (5)

2: Gesture (16)

3: Gesture (26)

4: Gesture (3)

5: Gesture (2)

6: Gesture (8)

C​

A​

​B                                            D

Notes

 

Play more with fingers, hands and small articulations, instead of additional movement.

Freedom? / Limitation?

Rules

To control

Fluidity

To not loose DEFINITION                      Looking at the whole body everything becomes equally important.

Question: where is the physical place that the gesture arrives?

23/11/2024

Day & Reflect

Working in the BEAT, keeping the detail in gestures and paths.

Inside pulse: natural rhythm, go against?

Is not always the same on each beat, listen to the body.

Decide, play with the beat.

​CHANCE

PREDICTABLE/UNPREDICTABLE

INTEREST

SPEED 

Notes for movement practice

-Head: precise direction (make it bigger, to understand).

-Fingers-head leading; on improvised paths, both at the same time?

-Torso-head connection: crossing or incline.

-Hands: always alive, with a lot of detail.

 

NEW SCORE

 

               A                    B                   C                   D                E​

The new score "In the beat" needs more repetition, always trying to make it definite and in detail.

 

Clarity on dynamics, DEFINITE.

Run a score with closed eyes.

Gestures become a bit smaller,

but they stay solid.

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Connected

1,3,2

2,1,1

2,3,3

3,2,2

3,1,1

3,3,3

1,2,1

1,2,2

2,2,3

4,5,6

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hand-painted-arrow-clip-art-free-png.png
hand-painted-arrow-clip-art-free-png.png
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hand-painted-arrow-clip-art-free-png.png

1,3,2

2,1,1

2,3,3

4,5,6-Ç

3,2,2

3,1,1

3,3,3

4,5,6-Ç

1,2,1

1,2,2

2,2,3

5,6,5

3,6,6

3,2,6

1,5,5

3,4,4

2,5,6

4,5,6-Ç

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25

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Self Portrait as St. Sebastian, Egon Shiele (1910)

5

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Preacher Nude Self Portrait with Blue Green Shirt, Egon Shiele (1913)

16

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Self Portrait with Hands on Chest, Egon Shiele (1910)

3

Gustav Klimt in a Blue Smock, Egon Shiele (1913)

2

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Standing Male Nude with a Red Loimcloth, Egon Shiele (1914)

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Male Nude Propping Himself Up, Egon Shiele (1910)

 

© Blanca Arrieta 2013

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